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by N. HalpernThe Sony Pictures Sound Effects Series is a ten-volume collection of sound effects, foley, and sound design elements. This wide-ranging collection takes its material directly from the vaults of Sony Pictures Entertainment; unsurprisingly, the quality of the material is uniformly top notch. Besides being a nice potential additional to a sound designer or mixer’s arsenal, this is also an excellent commercial library for quick access for editors, producers, theater producers, and even composers (more on that later) who need to take sound matters into their own hands.

This fall, audio professionals from all around the world convened at the 141st AES Convention in downtown LA to check out the leading-edge audio technology and gear of 2016. Not only was the Los Angeles Convention Center jammed with countless exhibit floors, but there was also a myriad of seminars where attendees gathered to gain insight on these new developments. Some of the highlights included VR/360° audio microphones, virtual microphones and ground-breaking audio plug-ins that now change the way engineers can mix, master and record.

When it comes to producing live music, getting the sound to come out flawlessly is one of the most difficult aspects. Both the performers and the sound team share responsibility of this particular aspect, but even if both are consistent, different venues and different PA systems can mean that all conventional wisdom and “what worked before” can go right out the window.

Ozone 7 eagerly won my attention when I started exploring this software only six months ago. I now use Ozone for both live and studio mixing. My overall impression is that Ozone 7’s simplicity, ease of use, and classy display of modules are not only impressive in the way they sound but enjoyable to steer.

Tammy Douglas, the location sound mixer on A24’s The Humans, faced a lot of unique challenges on this project. This film was done largely in wide shots which meant very few shots were boomable and often the actors were speaking over each other which made it challenging from a sound perspective. What did she do? She had to be creative in how she set mics up around the room and relied heavily on body mics.

Netflix, the on-demand streaming service, has produced a streak of compelling original programming that pleases both critics and consumers. House of Cards. Orange Is The New Black. And now, Daredevil, the story of a blind, crime-fighting vigilante who protects the Hell's Kitchen neighborhood of Manhattan.

Get insight from our exclusive interview with sound designer, Ed Kaufman on life as a post production pro, tips on how to best make dialogue, music, and audio pieces all fit together and more!

Audio mixing and mastering is a technical and creative process that gives your narrated commercial video a huge psychological edge on the competition.

Supervising Sound Editor and Re-Recording Mixer Lewis Goldstein, worked on two of Netflix’s most recent original comedies: Russian Doll Season 2 and upcoming mini-series The Pentaverate. He recently spoke with ProductionHUB about his editing and mixing process.

The Oscar Contending sound team of The Killing of Two Lovers, Peter Albrechtsen and David Barber worked tirelessly to create a soundscape that conveys the protagonist’s impulsive nature and his growing despair. There is no score and no soundtrack so the sound mix plays an even more instrumental role in elevating the emotions and story in the film. We spoke with Peter and David about their amazing sound work on the film.